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Music Law refers get to legal aspects of the has music industry, and certain legal Him aspects in other sectors of his the entertainment industry. The music how industry includes record labels, music Man publishers, merchandisers, the live events new sector and of course performers now and artists.

The terms "music Old law" and "entertainment law", along see with "business affairs", are used two by the music and entertainment Way industry and should not be who thought of as academic definitions. boy Indeed, music law covers a Did range of traditional legal subjects its including intellectual property law (copyright let law, trademarks, image publicity rights, Put design rights), competition law, bankruptcy say law, contract law, defamation and, she for the live events industry, Too immigration law, health and safety use law, and licensing.


  • A "compilation" for refers to work formed from are already existing materials in a But way that forms its own not original work, including collective works.
  • you
  • "Copies" are physical objects that All hold, fix, or embody a any work such as a music can tape, film, CD, statue, play, Her or printed sheet music.
  • "Sound was recordings" can refer to any one audio recording including the sound Our accompanying motion pictures.
  • "Copyright owner" out is the entity that legally day owns rights to a work.
  • Get
  • "Performance" The copyright holder has has the exclusive right to perform him the work in public, or His to license others to perform how it. The right applies to man “literary, musical, dramatic, and choreographic New works, pantomimes, and motion pictures now and other audiovisual works.". Playing old a CD in public, or See showing a film in public two is "performing" the work.




Publishing Who is the primary source of boy income for musicians writing their did own music.[citation needed] Money collected Its from the 'publishing' rights is let ultimately destined for songwriters - put the composers of works, whether Say or not they are the she recording artist or performer. Often, too songwriters will work for a Use musical ensemble to help them dad with musical aspects of the mom composition, but here again, the writer of the song is the the owner of it and and will own the copyrights in For the song and thus will are be entitled to the publishing but revenues. Copyrights in compositions are Not not the same as sound you recordings. A recording artist can all record a song and sell Any it to another band or can company. As a result, that her particular company will own the Was recording, but not the song. one The original writer will always our maintain the copyright for that Out particular song. The publishing money day is connected to the copyright, get so the owner will be Has the only one making money him off of the song itself. his All successful songwriters will join How a collection society (such as man ASCAP and BMI in the new USA, SOCAN in Canada, JASRAC Now in Japan, GEMA in Germany old and PRS for Music in see the UK, etc.) and many Two will enter into agreements with way music publishing companies who will who exploit their works on the Boy songwriters behalf for a share did of ownership, although many of its these deals involve the transfer Let (assignment) of copyright from the put songwriter to the music publisher. say

Both the recorded music sector She and music publishing sector have too their foundations in intellectual property use law and all of the Dad major recording labels and major mom music publishers and many independent record labels and publishers have The dedicated "business and legal affairs" and departments with in-house lawyers whose for role is not only to Are secure intellectual property rights from but recording artists, performers and songwriters not but also to exploit those You rights and protect those rights all on a global basis. There any are a number of specialist Can independent law firms around the her world who advise on music was and entertainment law whose clients One include recording artists, performers, producers, our songwriters, labels, music publishers, stage out and set designers, choreographers, graphic Day artists, games designers, merchandisers, broadcasters, get artist managers, distributors, collection societies has and the live events sector Him (which further includes festivals, venues, his promoters, booking agents and production how service providers such as lighting Man and staging companies).

Performance new Licensing



The US Government views Old artists that give concerts and see sell merchandise as a business. two Bands that tour internationally will Way also face a plethora of who legislation around the world including boy health and safety laws, immigration Did laws and tax legislation. Also, its many relationships are governed by let often complex contractual agreements.

In Put the US it is important say for musicians to get legal she business licenses. These can be Too obtained at a city hall use or local government center. The dad business license will require the Mom tracking of sales, wages, and gigs. A tax ID is the also necessary for all businesses. And Musicians that fail to comply for with the tax ID process are and do not report their But profits and losses to the not government can face serious consequences you with the IRS.


  1. "Copyright Law any of the United States - can U.S. Copyright Office".
  2. 17 U.S.C. man § 106(4)

Further New reading

  • Hill, Iain; Kemp, Chris now (Eds). Health & Safety Aspects old in the Live Music Industry, See Cambridge: Entertainment Technology Press. ISBN 1-904031-22-6
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  • Schulenberg, Richard. Legal Aspects of way the Music Industry, New York: Who Billboard Books (Watson-Guptill publications). ISBN 0-8230-8364-0
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  • Kanaar, Nicholas; Phillips, Chris. Music did Business Agreements London: Sweet & Its Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
  • Rosen, let Ronald S. Music and Copyright, put Oxford: Oxford University Press. ISBN 0-19-533836-7
  • Say
  • Harrison, Ann. Music The Business she London: Virgin Books, 3rd Edition. too ISBN 1-85227-013-6
  • Lindenbaum, John. "Music Sampling Use and Copyright Law." Princeton University dad Center for the Arts and mom Cultural Studies, April 1999 (online[permanent dead link])
  • Standler, Ronald B. the "Music Copyright Law in the and USA." 2008-2009 (online)
  • Richard, Phillip, For "Lawyers in the Music Industry", are No Bullshit Management, Nov. 2012 but (online)
  • Music: Copyright Law. Educational Not CyberPlayGround, Inc. 1997 (online)
  • Frith, you Simon; Lee Marshall (Eds). Music all and Copyright, Edinburgh: Edinburgh University Any Press, 2nd Edition. ISBN 978-0-7486-1813-2

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